MANOEL FELCIANO

Curriculum Vitae

EDUCATION

M.F.A. Acting, New York University Graduate Acting        2004

B.A. Humanities, Yale University        1993

AWARDS & HONORS

San Diego Critics Circle Nomination - Outstanding Performance in a Play – Twelfth Night        2015

Tony Award Nomination - Best Featured Actor in a Musical - Sweeney Todd        2006

Broadway.com Audience Award        2006

Broadwayworld.com Choice Award        2006

New York University - Tisch Achievement Scholarship         2004

Yale University Bates Fellowship - study abroad        1993

Yale University Richter Fellowship - music        1992

TEACHING EXPERIENCE

Columbia University School of the Arts MFA Acting Program        2017-2022

Adjunct Professor, Theatre

Fundamentals of Acting        Spring 2018, 2022

• Developed an intensive introduction to an actor’s process for non-acting MFA students in the Columbia School of the Arts — Dramaturgy, Creative Writing, Foreign Visiting Scholars, Directing, Playwriting.
• Through exercises and games, students began with the elemental building blocks of storytelling: speaking truthfully from oneself, listening and reacting, engaging breath, voice and body, personalization, using basic elements of Linklater Voice and Alexander technique.
• Moved to improvisations, using devised work to build a sense of company, and Open Scenes using Stanislavski-inspired objective/obstacle work.
• Assigned students to write monologues and scenes for each other.
• Solicited student input to help select material for introductory scene work, with an emphasis on rehearsal techniques and constructive feedback.

Acting Through Song        Fall 2017 - Spring 2020

• Cold-pitched a 2500 word proposal for first ever such class to MFA Chair Christian Parker in 2016, approved in 2017. 
• Positive student feedback from inaugural class in fall 2017 led to class length being doubled from 1 to 2 semesters for 2018-2019.
• Focused on fundamental technical principles: keeping an open, relaxed, but diaphragmatically engaged air flow; creating “space” by keeping the soft palate elevated, a neutral larynx and the jaw relaxed; and on a forward placement to resonate “in the mask.”  
• Worked with an enormous range of abilities and experience levels from the (initially) tone-deaf to Broadway-ready. 
• Examined the unique demands of acting through song: the temporal constraints of the music, the non-naturalistic conveyance of language, the physical expression of heightened emotions. Picked solos and duets for students, tailoring material according to experience level, ability, and input from the student. 
• Emphasized the importance of singing as a part of any well-rounded actor’s toolkit, and its foundational place in theater beyond Broadway musicals. Introduced scenes that led into song, for full dramatic context. 
• Concluded with a successful presentation to the rest of the faculty and students. In 2019, this presentation grew into a highly successful, fully produced, multi-evening, public Cabaret performance.  

Red Bull Theater - Classical Acting Intensives        2016-2018

Shakespeare Audition 2: The Callback         2018

with Public Theater Casting Director Heidi Griffiths        

• Following up on the techniques taught in the Audition Workshop, students were put through a mock callback scenario
• Techniques taught included maintaining the choices you made that got you the callback, while deepening and enriching the work to show your room for growth, reacting to adjustments on the fly, and managing expectations.  

Acting in the Jacobeans        2017

• Introduced students to the basics of verse, focusing on finding specificity in the text, making sense of the language, and then trusting it by releasing into its flow.
• Focused on personalization and how it leads to conversational, but still heightened, realism.
• Examined how the Jacobeans are not Shakespeare, and encouraged to embrace the visceral, soap-opera aspects of the literature.

Shakespeare Audition Workshop        2016

with Public Theater Casting Director Heidi Griffiths

• Analyzed and prepared audition sides for varying degrees of memorization / prep time.
• Worked on exercises for physical, psychological and emotional preparation before entering the room.
• Discussed audition etiquette and protocol.

Viterbo University        2017

Into the Words Words Words - Heightened language in Shakespeare & Sondheim

• Students were encouraged to “get out of their comfort zone” by requiring Musical Theatre BFA students to work on Shakespeare, and “straight” Theatre BFA students to prepare a Sondheim song.
• Attempted to demystify both genres, by pairing up kindred characters: Sweeney / Richard III; Tony / Romeo; Rosencrantz & Guildenstern / Princes in Into The Woods.
• Examined the similarities and differences of spoken verse and sung lyrics; of the need to honor the specifics of language with specifics of intention.
• Explored naturalism and spontaneity while honoring the structural constraints of the heightened language.
• Discussed assisting the clarity of storytelling without indicating by deepening the character’s need.

New York University Graduate Acting MFA Program        2015-2016

2nd Year Singing        Spring 2016

with Malcolm Gets

• Continued to strengthen and fine-tune fundamentals of proper technique.
• Assessed each student’s development needs based on previous semester’s Cabaret performance.
• Selected and taught songs and material based thereupon, but with an emphasis on moving beyond comfort zones.
• Emphasized integrating acting and singing organically. Concentrated on the particular stylistic and physical requirements of sung story-telling.

3rd Year Musical Theater Scenes        Fall 2015

with Deborah Lapidus, NYU Grad Acting Academic Director & Associate Arts Professor

• Integrated previous two years of technical voice work with outside scene study to work on fully contextualized, multiple person scenes.
• Special attention was paid to learning to listen to your scene partner while expressing yourself at the same time.
• Worked on moving seamlessly from spoken dialogue to sung lyrics and back again, with special attention given to the naturalistic pacing of dialogue over underscoring.  
• Investigated the unique nature of sung arguments, and the challenges of individualizing identical lyrics when sung by different characters separately and simultaneously.

American Conservatory Theater MFA Program in Acting         2009-2010

Sung Stories - an annual Cabaret presentation of Acting through Song

• Assessed each student’s experience level, potential, and personal taste.
• Selected and taught songs based thereupon.
• Ensured each student had at least one solo and one duet/trio.
• Targeted technical fundamentals.
• Added framing scenes for dramaturgical context.
• Coordinated with voice and movement faculty for additional support.
• Scheduled four-week rehearsal period.
• Directed 80-minute musical revue, with two public performances.

Master Classes Taught

Acting the Song

Emphasized lyrical specificity and musical expressiveness in the service of truthful storytelling and unpacking the unique characteristics of acting through song.

University of California, Berkeley        2012, 2015

A.C.T. Summer Training Congress        2010-2011

French American International School        2010

A.C.T. Master of Fine Arts program         2008

Boston University – Musical Theater Performance Lab        2008

University of Florida        2007

ACTING - See attached performing resume. 

DIRECTING

Columbia University MFA Acting Program

The Cherry Orchard(s) - A mashup of Regina Taylor’s Magnolia, Chay Yew’s                 Fall 2021
        A Winter People, and Chekhov’s original play - second year actors

Middletown by Will Eno - third year Thesis Project                Fall 2018

American Conservatory Theater MFA Program in Acting

St. Joan of the Tenderloin original piece - first, second & third year actors        Spring 2012

The American Clock by Arthur Miller - second & third year actors Fall production                 Fall 2011

The Comedy of Errors by William Shakespeare - 2nd year actors - Assistant Director        Spring 2011

The Collection by Harold Pinter - second & third year actors        Spring 2011

PROFESSIONAL DEVELOPMENT

American Conservatory Theater        2009-2012

Core Acting Company Member

• Asked to join one of the last year-round, full-time acting companies at a major regional theater in the U.S.
• Participated in planning upcoming seasons by suggesting and workshopping potential programming.
• Successfully worked with development department to raise significant funds for the institution, including a seven-figure individual gift through a personal appeal, by cultivating and maintaining donor relationships.
• Self-educated in many aspects of the organization’s life by sitting in on organizational and board meetings, and “shadowing” senior staff to understand how a large theatrical producing and training organization is run.
• Directed, assistant directed, produced and taught in the Conservatory training program.

SERVICE TO PROFESSION

Actors’ Equity Association Council        2017-present

Eastern Regional Councilor

• Elected in Spring of 2017. Developed the concept of “Judge it By the Budget,” a new approach to determining what a “fair wage” is based on an institution’s total revenue rather than the performing space’s box office.
• Active in educating new and prospective members and students about Union rights and responsibilities.
• Currently serving on the Chorus Affairs, LORT, Off-Broadway, Production, Member Education and Election Procedures Committees.

Tony Awards - American Theatre Wing        2017-present

Voter

• Selected to be among the 868 Theatre professionals who attend all eligible shows each season to determine the winners of the annual Tony Awards for theatrical excellence on Broadway.

FairWageOnstage        2016-present

Core Member

• Helped start and grow grassroots organization of Actors’ Equity Association actors and stage managers who successfully campaigned for significant salary increases Off-Broadway after years of wage stagnation.
• Developed platform of Wages, Inclusion, Participation and Engagement.
• Designed logo, wrote and designed social media infographics and ad copy, built, maintained and updated website.
• Collaborated with other volunteers to educate and inform the public, theater patrons, board members and AEA leadership.
• Wrote, designed and produced viral videos.

DEPARTMENTAL / UNIVERSITY SERVICE

Columbia University MFA Acting Program        2018-present

Proposed Five Initiatives to Acting Concentration Head

• Alumni Outreach and cultivation

• Working Alumni Bulletin Board - inspire current students by showcasing currently employed CU MFA Acting alumni via News clippings, Playbills, and other print and online mentions.
• Acting Alumni listserv - create an ongoing discussion specifically for Acting alumni.
• Annual Holiday Lip Sync Party - expand this tradition into an Alumni Reunion, to build a continuum amongst current and past students, with an aim to ultimately turn this annual event into a fundraiser for the program.

• Interdisciplinary Collaborations

• Columbia Law School - help Law Students for mock cross-examinations and depositions while developing improvisatory skills for Acting students.
• Columbia Medical School - help train Medical Students for mock patient interviews while developing improvisatory skills for Acting students.
• Columbia Business School - assist MBA students with public speaking and honing “the story” of a venture or product.

• Community Engagement

• Drama Club - partner with this organization that uses theatre to empower incarcerated youth to tell their stories.

• Workshops for graduating students

• Financial Health & Literacy - educate our graduating students on strategies for handling Student Loan Debt and general financial literacy via the Artist Financial Support Network.
• Union memberships - educate our graduating students about the benefits, rights and responsibilities of membership in the major Acting Labor Unions: Actors’ Equity Association (AEA) and the Screen Actors Guild / American Federation of Television and Radio Artists (SAG-AFTRA) – including understanding different contracts, dues, pension, 401k and health insurance.
• VITA Volunteer Income Tax Assistance for Actors - bring a volunteer from AEA’s to educate graduating students on income tax filing strategies for actors

• Statement of Values / Code of Conduct

• Proposed articulating a series of principles and standards - clarify and formalize language circumscribing classroom and rehearsal behavior for both faculty and students. Clearly communicate to the and reiterate. Explore standardizing this language across all Theatre Concentrations. Coordinate with existing University policies.
• Intimacy Training: bring in a certified Intimacy Director, possibly from Intimacy Directors International (I.D.I) to teach students and faculty safe, consistent and respectful ways to rehearse intimate scenes.

American Conservatory Theatre MFA Acting Program        2010

Recruitment

• Successfully assisted in recruiting two coveted students during ACT’s Callback Weekend.

New York University Graduate Acting MFA Program        2009

Recruitment

• At the request of the admissions team, successfully convinced a highly sought-after student – over a series of in-depth exchanges – to attend NYU Grad Acting over the Yale School of Drama and other top MFA programs.

New York University Graduate Acting MFA Program        2008

Alumni Member, Departmental Chair Search Committee

• Participated in second round interviews of candidates.
• Reviewed applicant materials.
• Helped select final two candidates for submission to Dean of Tisch School of the Arts.

ACTING TRAINING AND INSTRUCTORS

New York University Graduate Acting MFA Program: Zelda Fichandler (Actors Space), Ron van Lieu, Janet Zarisch (scene study), Scott Miller, Beverly Wideman (voice), Deb Lapidus (singing), Deborah Hecht, Shayne-Ann Younts (speech), Hovey Burgess (circus), Chris Bayes (clown), Jim Calder (commedia/kinetics of literature), Larry Maslon (culture of style), Joanna Merlin (Michael Chekhov/audition), Rosemary Tichler (audition), J. Steven White (stage combat), David Hammond (Shakespeare)

The Actors Center: Ron Van Lieu (scene study), Jed Diamond (audition), Grace Zandarski (voice & text)

Other NYC teachers: Fred Karriman (Meisner), Daniela Varon (Shakespeare), Peter Thompson / Michael Howard Studios (scene study), Victoria Clark, Alexander Gemignani, Glen Seven Allen, Christiane Noll (singing), Brad Garside (vocal coaching).

WORKSHOPS / MASTER CLASSES

Brent Blair - Theater of the Oppressed: Participated in 2-day lecture and workshop taught by USC Professor Brent Blair in his LACE (Liberation Arts, & Community Engagement) work. Columbia University, Fall 2018.

Thinking Shakespeare Live!: By invitation of Barry Edelstein, Artistic Director of the Old Globe Theater and author of Thinking Shakespeare, demonstrated techniques for – and examples of – interpreting Shakespearean texts in front of a live audience. Summer 2018.

Tom Keegan Motion Capture Workshop: Introduction to Performance Capture by Director and Casting Director Tom Keegan, focusing on combining gesture, emotion and dialogue for capture. Spring 2013.

Sara Goldberg VO Animation Workshop: Character Animation Voice Over master class with Disney Animation casting director Sara Goldberg. Spring 2013.

Meredith Monk Workshop: Techniques, exercises, hockets and compositions taught by composer, performer and director Meredith Monk. American Conservatory Theater, Spring 2010.

Olympia Dukakis Private Coaching: Worked 1-on-1 with Ms. Dukakis on Hamlet monologues. American Conservatory Theater, Fall 2009.

Marci Phillips On Camera: Workshop honing on camera audition techniques with ABC Casting Director Marci Phillips. Fall 2006.

Shakespeare & Co. Winter Intensive: Four week long intensive of 14-hour days studying Shakespeare: Text analysis, Voice, Movement, Elizabethan dance, Alexander Technique, Stage fight, Exploration of the actor/audience relationship, Sonnet work, Scene work, January 2000.

Patsy Rodenburg - Speaking Shakespeare: 3 Day Intensive workshop in voice, breath, body, and presence work, along with extensive work on Shakespearean monologues by the renowned vocal coach and Guildhall School of Music and Drama Head of Voice. Michael Howard Studios, NYC, Fall 1998.

PERFORMING EXPERIENCE

VOICE OVER

Local and national network radio, TV and Video game spots for Ford, Schick, Arby’s, AOL, Lucasfilm, Electronic Arts, Nextel.